The first artist portrayed, my husband. I thought it was a simple photographic shot, knowing in depth his poetics and vision, very often very close to mine, beyond his artistic calligraphy and his soul. However it was not what I expected.

He was the only artist for whom I dedicated two photo sessions.

Although he is also a photographer, Alessandro does not like being portrayed, posing and being on the other side of the lens. A solitary person who opens up only with those who choose. The location, an abandoned quarry in the Sermoneta countryside, is inspired by the video that best identifies it: Metachaos.

Reinforced concrete walls worn by time and by atmospheric phenomena that stand out towards the sky frame the artist's face. A cross-section of those Invisible Cities by Italo Calvino to which Alessandro often refers when speaking of his works.

Alessandro's places are forgotten, decadent and depressed, rigorously in black and white where men move, meet and collide according to the laws of chaos and metaphysics.

Nature takes back its spaces with its dominant power, sucking up what man has built. A return beyond the abyss where the eternally shapeless layer of the universe is hidden where everything changes in a continuous becoming.

Print Size: cm 48 x 64 - inches 19 x 25,3


Sara Aliscioni



Sara has been dedicating herself to photography and photographic calligraphy since 2006. She matured the artistic matrix from her father, musician and composer, who led her to explore not only the world of theater, to which she dedicated herself for several years both as an interpreter as a stage photographer, but also of music, studying classical music theory and playing bass for several years, as well as cinema, influenced by the Centro Sperimentale di Cinematografia where her father worked as a sound engineer.

In addition to the various courses on photographic techniques and workshops dedicated to travel reportage, he attended the training promoted by the MoMA on photography as a means of individual artistic expression, as a technique for exploring and documenting the reality as well as a tool for communication and criticism of society and our culture. Subsequently, driven by an interest in history that draws on photojournalism as a primary source, she followed the course on the use of images, films and their historical interpretation in the 20th century with the University of London & Royal Holloway.

Among the activities followed, Sara has curated various photographic backstage works, the last of these at the Macro Museum in Rome. After having increased her knowledge, she has also matured her style thanks to the continuous and daily training of the artist Alessandro Bavari.

United by photography as an expression of art, as well as by their personal bond, together they created the book Kill the Covid! a rural horror photographic mockumentary set in Italy, faithful to their artistic, visionary and provocative style.


The photographic choice oriented towards Reportage and Street Photography, features strictly black and white calligraphy. Inspired by the language of the Hungarian director Béla Tarr, Sara Aliscioni offers images made of symbolism, drama and poetry in an objective but at the same time sentimental interpretation, describing the harsh reality that sees man at its center in familiar and everyday contexts. The common thread is always the search for beauty even when what surrounds the subject is decadent, dark and forgotten.



Extended Editorial


Sermoneta, Italy


Alessandro Bavari




Sara Aliscioni








Extended Editorial

Can be used to display privately, or in commercial and non-commercial settings, or in groups with an unlimited number of participants. The license includes unlimited use and display in virtual or physical galleries, documentaries, and essays by the NFT holder. Provides no rights to create commercial merchandise, commercial distribution, or derivative works.

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